FRONT WINDOW : JORGE SANTOS arquitextos 204.01 digital technology: The new ornament in architecture Exploratory Science Museum of Unicamp, Corsi Hirano Architecture Office The ornament has been an element in architectural design, since the pre-historical times (1). The concepts for ornamentation patterns were usually inspired by natural forms and applied to architecture to show the dominance of humans over nature (2). However, due to the industrialization and changes in culture during the beginning of the 20th century, ornament almost disappeared, mostly in architecture. Ornament and Crime, a text first published in 1908 by Adolf Loos, greatly influenced architects' prejudice against ornament. Loos criticizes the exploitation of human labor in the production of ornament, the amount of time used to produce an object and how quickly ornamented objects became outdated (3). “Ornament and Crime can certainly be seen as a crucial contribution in the architectural discussion about the exclusion of ornament. Architectural elements can now be partially fabricated by programmable machines. notes
Distance Estimated 3D Fractals (Part I) During the last two years, the 3D fractal field has undergone a small revolution: the Mandelbulb (2009), the Mandelbox (2010), The Kaleidoscopic IFS’s (2010), and a myriad of equally or even more interesting hybrid systems, such as Spudsville (2010) or the Kleinian systems (2011). All of these systems were made possible using a technique known as Distance Estimation and they all originate from the Fractal Forums community. Part I briefly introduces the history of distance estimated fractals, and discuss how a distance estimator can be used for ray marching. Part II discuss how to find surface normals, and how to light and color fractals. Part III discuss how to actually create a distance estimator, starting with distance fields for simple geometric objects, and talking about instancing, combining fields (union, intersections, and differences), and finally talks about folding and conformal transformation, ending up with a simple fractal distance estimator. The background Raymarching
Intelligence artificielle : et si la machine remplaçait l'artiste ? En 1956, le sculpteur Nicolas Schöffer, pionnier de l'art cybernétique, réalisait la sculpture CYSP 1, la première sculpture cybernétique de l'histoire de l'art. Autonome, elle était dotée d'un cerveau électronique et son créateur préfigurait : “désormais, l'artiste ne créé plus une oeuvre, il crée la création.” Près de 70 ans plus tard, les avancées technologiques semblent donner raison au sculpteur : les intelligences artificielles (IA) permettent à l'artiste de programmer des processus autonomes, qui créent à leur tour. “La réalité de l’intelligence artificielle n’est plus du tout la même que dans les années 50, estime à ce sujet Jérôme Neutres, commissaire de l’exposition Artistes et Robots, qui prend place au Grand Palais jusqu’au 9 juillet prochain. Il y a ce grand fossé qui est tout le temps parcouru : 70 années d’une odyssée technologique et, en parallèle, des recherches artistiques qui ont mises à profit ces technologies. Écouter 30 min L’artiste, futur développeur ?
Amadeo de Souza Cardoso Amadeo de Souza-Cardoso (14 November 1887 – 25 October 1918) was a Portuguese artist. Life[edit] Amadeo was born in Mancelos, a parish of Amarante. At the age of 18, he entered the Superior School of Fine Arts of Lisbon and one year later (on his 19th birthday) he went to Paris, where he intended to continue his studies but soon quit the architecture course and started studying painting. In 1913, Amadeo de Souza Cardoso participated in two seminal exhibitions: the Armory Show in the USA, that travelled to New York City, Boston, and Chicago, and the Erste Deutsche Herbstsalon at the Galerie Der Sturm in Berlin, Germany, directed by Herwarth Walden. Amadeo met with Antoni Gaudí in Barcelona in 1914, and then left for Madrid, where the shock of World War I was already underway. Work[edit] In 1925, a retrospective exhibition in France of the painter’s artwork was well received by the public and critics. Selected artworks[edit] Bibliography[edit] External links[edit]
Network | Loam Clay Earth, Martin Rauch, Vorarlberg Design and project consulting Thomas Honermann, architect and project manager, t.honermann(at)lehmtonerde.at Jomo Zeil, design and projects, j.zeil(at)lehmtonerde.atEmmanuel Dorsaz, design and projects, e.dorsaz(at)lehmtonerde.at Administration Clemens Quirin, office management, c.quirin(at)lehmtonerde.at Sabrina Vonbrül, office assistance, s.vonbruel(at)lehmtonerde.at Eveline Koch, accounting, e.koch(at)lehmtonerde.at Construction Arnaud Evrard Dominique Fulterer Elmar Losch Florian Miller Richard Mitchell Assunta Rauch Leonar Stieger For many projects, especially abroad, we rely on local companies and artisans. Network Cooperation Construction Karak – Keramikfliesen Müller Ofenbau – Kooperation Lehmo Ulrich Gerold – Kooperation Lehm-Kasein-Spachtelungen Cooperation Design Studio Anna Heringer Roger Boltshauser Know-How Exchange BASEhabitat ETH Zürich – Gastdozentur Heringer/Rauch CRAterre IG LEHM Lehm-Fachverband Schweiz Energieinstitut Vorarlberg
Algebraic topology Branch of mathematics A torus, one of the most frequently studied objects in algebraic topology Although algebraic topology primarily uses algebra to study topological problems, using topology to solve algebraic problems is sometimes also possible. Algebraic topology, for example, allows for a convenient proof that any subgroup of a free group is again a free group. Main branches of algebraic topology[edit] Below are some of the main areas studied in algebraic topology: Homotopy groups[edit] In mathematics, homotopy groups are used in algebraic topology to classify topological spaces. Homology[edit] Cohomology[edit] Manifolds[edit] Knot theory[edit] . upon itself (known as an ambient isotopy); these transformations correspond to manipulations of a knotted string that do not involve cutting the string or passing the string through itself. Complexes[edit] A CW complex is a type of topological space introduced by J. Method of algebraic invariants[edit] Setting in category theory[edit] See also[edit]
Caché sous un autre tableau, un Picasso disparu recréé grâce à l’intelligence artificielle En 1903, Pablo Picasso, alors âgé de 22 ans et en pleine « période bleue », peint un tableau intitulé « le Vieux Guitariste aveugle ». A l’époque, le jeune artiste, qui vit à Barcelone, manque de moyens pour s’acheter des toiles et se retrouve régulièrement contraint de réutiliser des toiles déjà peintes : un drame pour l’histoire de l’art, privée de nombreuses toiles de jeunesse du maître espagnol. A moins que les nouvelles technologies ne s’en mêlent… En 1998, des conservateurs de l’Art Institute of Chicago, qui passent le tableau aux rayons X, découvrent en filigrane, caché sous la peinture du « Vieux Guitariste », la silhouette d’un portrait de femme, qui semble correspondre à un croquis préparatoire de Picasso. Il faudra attendre plus de vingt ans pour qu’en septembre 2019, le tableau disparu apparaisse à la face du monde, grâce au travail de deux chercheurs basés à Londres, rapporte « Newsweek ».
Edwin van der Heide - Home OSTERHAGE RIESEN ARCHITEKTEN - 11117 Osterhage Riesen Architekten Zürich Philipp Riesen, Jan Osterhage, Claudia Haeny, Corinne Liebi Dr. Lüchinger + Meyer Bauingenieure AG Luzern Otmar Spescha Ingenieurbüro für energieeffizientes Bauen Schwyz Ueli Schärer Elektro-Engeneering Baar Landschaft, Anna Willkommen, Christopher Opialla Fotografie: Karin Gauch, Fabien Schwartz Die Ausformulierung und Setzung des Bauvolumens garantiert angemessene Einordung in das bestehende Wohnquartier. Die Baufachkommission der Gemeinde Cham beurteilt das Projekt folgendermassen: ‚Das Projekt wird als sehr gelungen und gut eingepasst beurteilt und bildet in seiner Volumetrie und Ausgestaltung ein Vorzeigeobjekt für weitere baulichen Entwicklungen in diesem Gebiet.’
Immersed in Movies: Going Into the ‘Big Hero 6’ Portal | IndieWire Interstellar isn’t the only Oscar contender with a wormhole. Big Hero 6 has a pretty cool one, too, which is nominated for a VES award. In fact, BH6 has five VFX noms at Wednesday’s 13th annual VES Awards. Bill Desowitz: This is not only visually stunning but it also represents the emotional climax. Don Hall: We knew that goodbye should really be where your heart gets ripped out so we had to tweak the Tadashi video scene so that this scene had room to grow. I’d never seen anything like it. Chris Williams: When I think about that scene, it’s about how much we relied on each other and how much we trusted each other because it was really challenging on a creative front on how to best represent this world and really challenging on the technology front. Roy Conli: What I’m so proud about is the amazing thematic content.
Oxia Palus - An AI Art Collective